SYNTACTIC SYNONYMY AS ONE OF THE PECULIARITIES OF AUTHOR’S IDIOSTYLE (based on French fiction of the XXth – the beginning of the XXIst centuries)

Abstract

In this article the syntactic synonyms as one the characteristics of the author’s idiostyle are defined as the co(n)textually preferential options formed in the continuum language → discourse as a result of the phased phenomenological cognitive polyoperations at the levels of primary and secondary consciousness: destruction and reconstruction of being and its structures and categories → sublinguistic schemes → primary (pivotal) structures → secondary reduced, extended and quantitatively equacomponential one-basis and two-basis synonymic transforms. Transformational processes and the primary structure are revealed by means of the procedure of inverse reconstruction (discourse → language). The author’s idiostyle is considered as the correlation of different degree of individual and collective cognitive spaces that conditions the choice and actualization of some synonymic structures. Three types of author’s idiostyle are distinguished: 1) diffuse (dominance of the collective cognitive space over the individual one which is revealed through the realization of synonymic structures characteristic to a certain epoch; 2) personal (prevalence of the individual cognitive space over the collective one, that is the actualization of grammaticalized synonymic utterances appropriate for another epoch, of typical agrammaticalized synonymic structures characteristic to another epoch or non-characteristic to the described epoch, of non-typical agrammaticalized synonymic structures. The french writer’s idiostyle of the XXth – the beginning of the XXIst centuries is analyzed using the examples of different semantic-structural types of synonymic preferential options (reduced mono- and polypredicative constructions with the participial and gerundial head lexemes, asyndetic conditional structures and extended with the predicates and presentatives synonymic structures) and it is proved the coexistence of two phenomena: reduction and extension in the modern French fiction despite of the general tendency of the economy of means of expression of author’s thought